Beijing opera or Peking opera (Simplified Chinese: 京剧; Traditional Chinese:
京劇; Pinyin: Jīngjù) is a kind of Chinese opera which arose in the mid-19th
century and was extremely popular in the Qing Dynasty court. It is widely
regarded as one of the cultural treasures of China. Beijing and Tianjin are
respected as the base cities of Beijing opera in the north while Shanghai is
the base in the south.

With its fascinating and artistic accompanying music, singing and costumes,
the Beijing Opera is China's national opera. Full of Chinese cultural facts,
the opera presents the audience with an encyclopedia of Chinese culture, as
well as unfolding stories, beautiful paintings, exquisite costumes, graceful
gestures and martial arts. Since Beijing Opera enjoys a higher reputation than
other local operas, almost every province in China has more than one Beijing
Opera troupe. Opera is so popular among Chinese people, especially seniors,
that even "Beijing Opera Month" has been declared.

The Peking Opera band mainly consists of an orchestra and percussion band.
The former frequently accompanies peaceful scenes while the latter provides
the right atmosphere for battle scenes. The commonly used percussion
instruments include castanets, drums, bells and cymbals. One person usually
plays the castanets and drum simultaneously, which conduct the entire band.
The orchestral instruments include the Erhu, Huqin, Yueqin, Sheng (reed pipe),
Pipa (lute) and other instruments. The band usually sits on the left side of
the stage.

Lead performer from the Huguang Guild Hall, 2001. Photograph by Ian
Sewell

Beijing Opera has a 200-year-long history. Its main melodies originated
from Xipi and Erhuang in Anhui and Hubei respectively and, over time, absorbed music and arias from other operas and musical arts such as the
historic Qinqiang as well as being very strongly influenced by Kunqu, the form
that preceded it as court art. Techniques from many other local operas were
incorporated into Beijing Opera.

Dialogue is carried out in an archaic dialect originating partially from
those regions.

It is believed that Beijing Opera gradually came into being after 1790
when the famous four Anhui opera troupes came to Beijing. Beijing Opera
underwent fast development during the reign of Emperor Qianlong and the
notorious Empress Dowager Cixi under the imperial patron, eventually
becoming more accessible to the common people.

In ancient times, Beijing Opera was performed mostly on stage in the open
air, teahouses or temple courtyards. Since the orchestra played loudly, the
performers developed a piercing style of song that could be heard by
everyone. The costumes were a garish collection of sharply contrasting
colors to stand out on the dim stage illuminated only by oil lamps. Beijing
Opera is a harmonious combination of the Grand Opera, ballet and acrobatics,
consisting of dance, dialogue, monologues, martial arts and mime.

In 1828, some
famous Hubei troupes came to Beijing. They often jointly performed in the
stage with Anhui troupes. The combination gradually formed Beijing opera's
main melodies.

The roles in Beijing Opera fall into four categories- Sheng, Dan, Jing and
Chou. These roles have the natural features of age and sex, as well as social
status, and are artificially exaggerated by makeup, costume and gestures. All
but the second portray a male or masculine character. Until recently, even
that of the female or feminine character was played by a male actor.

Sheng, a male role, usually a leading one, dates back to Southern Drama
of the Song and Yuan Dynasties (960- 1368). This role appears in operas in
all historical periods. According to the age and social status of the
characters, Sheng falls into five sub-groups: Laosheng, Xiaosheng, Wusheng,
Hongsheng and Wawasheng (characters of children).

Laosheng is also known as Xusheng, meaning bearded men, because the
actors wear artificial beards, and they are middle-aged or elderly men. Most
are upright and resolute characters. They sing in their natural voices, and
their actions are serious ones.

Xiaosheng is a sub-category of Sheng representing young male characters.
They don't wear artificial beards. They always sing in their real voices,
while in Kunqu and Pihuang operas the singing mixes natural and falsetto
voices.

Wusheng stands for all of the male characters who appear in battle
scenes. They are further subdivided into Changkao Wuheng, Duanda Wusheng,
Goulian Wusheng and Houxi Wusheng. They always wear helmets and thick-soled
boots. The generals always carry long pikes. Wusheng roles call for sturdy
and vigorous actions, with resounding declamations. The movements of the
waist and legs are powerful, and a high level of martial arts skills is
demanded in these roles. Duanda Wusheng roles use short-handled weapons, and
their movements are light and swift.

Dan is the general term in Peking Opera for female roles. As early as in
the Song Dynasty (960- 1279), the Zhuangdan role appeared. Southern Drama
and Northern Zaju, which developed during the Song and Yuan Dynasties (960-
1368), also had Dan roles. After Kunqu matured, it had Zhengdan, Xiaodan,
Tidan and Laodan. Later, more Dan types were developed. Nowadays, the Dan
roles are subdivided into Zhengdan (or Qingyi), Huadan, Wudan, Laodan and
Caidan, in accordance with age, characteristics and social positions of the
roles.

Zhengdan role was the main Dan role in the Northern Zaju. Zhengdan refers
to young or middle-aged women with gentle and refined dispositions. Most of
Zhengdan 's lines are delivered in song, and even the spoken parts are
recited in rhythmic style. Always dressed in a blue gown, Zhengdan is also
called Qingyi (blue clothes).

Huadan is a role for a vivacious maiden, a young woman with a frank and
open personality, or a woman of questionable character.

Wudan refers to female characters skilled in the martial arts and can be
subdivided into Daomadan and Wudan, according to the social positions and
skills represented. Daomadan is good at using pikes and spears, and at
riding horses. Wudan always wears short robes and the role emphasizes
acrobatics. Wudan plays gods and ghosts and has excellent fighting skills.

Laodan usually represents aged women. He/She sings in their natural
voices, in a style similar to that of Laosheng but in milder tones. In some
types of opera, Laodan is called Fudan or Bodan.

Caidan, also called Choudan, represents clownish and cunning females. The
performance of this part calls for exuberance.

Jing refers to painted-face roles, known popularly as Hualian. The
different colors and designs on the faces represent males with different
characteristics. Some are bold and vigorous and some are sinister, ruthless,
crude and rash. The voice is loud and clear, and the movements are
exaggerated.

The Jing role originates from the Fujing role of the Song Zaju. The Jing
roles gradually increased in number, and became further divided into several
groups, according to the different social positions and characters of the
roles.

Dahualian with a fully painted face is known as Zheng Jing. The roles
represent men of high social standing and good behavior, often court
ministers. Zheng Jing sings in vigorous and sturdy tones.

Erhualian, also known as Fu Jing, has powerful bodily movements and
sturdy singing voices. Some roles in this group represent rascally
ministers, recognizable by their white faces.

Wu'er Hualian is also known as Wu Jing. This role is more physical than
most of the others, with little singing or reciting.

You Hualian, also known as Mao Jing, is a clownish role. Some of You
Hualian roles have special skills, such as spouting fire from the mouth or
baring the teeth.

The Chou is one of the main roles in Peking Opera. The eyes and nose are
surrounded by a white patch, so Chou is also known as Xiao Hua Lian (partly
painted face).

The Chou roles originated in Southern Drama of the Song and Yuan
dynasties (960-1368) and appear in various kinds of operas. They portray
various kinds of characters, some are warm-hearted, simple and sincere, and
some are sinister and mean.

In modern operas, the performance of Chou roles has developed rapidly,
and different operas have their own styles. In general, the Chou roles do
not focus on singing, but the dialogue is clear and fluent. According to the
social positions, characters and skills demanded, the Chou roles are divided
into two categories: Wenchou (civilian) and Wuchou (martial). Both have
their own special features.

Wuchou is also known as Kai Kou Tiao. It requires not only a good command
of the martial arts or acrobatics, but also the ability to deliver the lines
both clearly and fluently. The movements should be light and powerful.

There is an explanation about why the roles take the names above. It is
said that they were chosen to have opposite meanings. Sheng in Chinese may
mean "strange" or "rare", but the chief male role is a well known character.
Dan, which means "morning" or "masculine", is contrary to the feminine nature
of the characters. Jing means "clean", but in fact the paintings on their
faces make the characters look unclean but colorful. And Chou in Chinese
sometimes represents the animal "ox", which, in some senses, is slow and
silent- in contrast, the Chou characters are usually quick and talkative.

Costumes are an integral part of the Beijing Opera performance. In the
early days, opera costumes were mainly made of wool or coarse cloth; later,
satin, crepe and silk were used, decorated with various meticulously
embroidered patterns. The making of opera costumes is a special and unique
stagecraft. The costume box first appeared in the Ming Dynasty, and was
greatly improved in the Qing Dynasty.

Peking Opera costumes are called Xingtou or, more popularly, Xifu in
Chinese. The origins of Peking Opera costumes can be traced back to the
mid-14th century, when operatic precursors first began experimenting with
large ornate articles of clothing.

(1) Anachronisms are allowable. A performer's costume primarily designates
his or her role on the stage no matter when or where the action takes place.
Characters, whether they are from ancient times or in pre-modern China, appear
on the Chinese opera stage wearing costumes suitable to their roles.

(2) Regardless of which season is being depicted in performance, the opera
costume is the same. Weather is described in every scene and must be made
clear by the actor's movements, rather than his clothing.

(3) Peking Opera costumes must enable the audience to distinguish a
character's sex and status at first glance. In terms of symbolism, Peking
Opera costumes have its social hierarchy -- noble or humble, civilian or
military, official or private citizens.

(4) By means of a subtle difference, opera costumes often give expression
to sharp distinctions between good and evil or, preferably, loyal and wicked
characters. Oblong Wings (chizi) attached to a gauze hat indicate a loyal
official. In contrast, a corrupt official is made to wear a gauze hat with
rhomboidal wings.

(5) Baldrics, though apparently of little or no account as compared with
such principal items as crowns and robes, may nevertheless function to bring
about more dramatic effects on the stage. For instance, the wings attached to
a hat, the plumes (lingzi) pinned to a helmet and the cascading sleeves (shuixiu)
sewn to a garment accentuate movement even if they have little practical use.

(1) Headdress: Designated by the general term Toukui, opera headdress
comprises such items as crown, helmet, hat and scarf. Crowns are for the
emperor and nobles; military people wear marshals, helmets; ordinary folks
wear soft scarves or straw hats. Some headgear, such as crowns, is rigid,
while others are soft.

(2) Costume: There are 20 major kinds of costumes, including the ceremonial
robe, or Mang; the informal robe, or Pei; and the armor, or Kao, for soldiers.
Ten colors are used, half of which are the five primary colors (or shang wu
se), namely, red, green, yellow, white and black, in contrast to the other
group of pink, blue, purple, pale-brown and pale-blue, all of which are
labeled secondary colors (xia wu se).

Many details should be paid attention to, for example, Mang is the general
costume for the emperor and nobles, but there are differences between these
costumes. There is a dragon, opening its mouth on the Mang for the emperor,
while the dragon on the Mang for the ministers and generals having its mouth
closed. The dragons on the costume of the civil officials are gentle and
quiet, while the ones on the costume of the martial officials are bold and
mighty. There are clear distinctions between the use of colors, for example,
the red Mang stands for majestic and noble, the green Mang indicates mighty
and bold, the white one fits the handsome young people, and the black one is
for the upright and unconstrained people. Besides, there are simplified Mang
and Mang specifically made for the female actress, the Laodan, and the palace
eunuch.

Personality makeup, or Lian Pu, refers to facial designs for Jing and Chou
roles. It originated from daily life experience, describing such changes of
expression as white for fear, red for shyness, dark for suntan, and sallow for
illness. Most facial designs attach great importance to the eyes and eyebrows.

Red, yellow, white, black, purple, green and silver are the main colors
used for facial designs to represent different characters. For instance, red
stands for loyal, courageous and upright people; white for sinister and
cunning officials; and golden and silvery colors for gods and ghosts.

The facial designs for the Jing roles are made by painting, powdering and
coloring in the basic forms of Zheng Lian (keeping the basic face pattern),
San Kuai Wa Lian (three-section face) and Sui Lian (fragmentary face). These
types are widely used to represent generals, officials, heroes, gods and
ghosts.

The Chou actors can be recognized by the patch of white in various shapes
(cube-, date pit-or bat-shaped) painted around the eyes and nose. Sometimes
these patches are outlined in black, hence the term Xiao Hua Lian (partly
painted face). The Chou roles fall into the following two categories: Wen Chou
(civil) and Wu Chou (martial).

These facial designs are considered an art form. Often, it is the performer
who must apply his or her own make- up, at times, during the performance. An
actor may cover all four roles in one performance, thus having to change faces
as many times as their character within the opera changes.

Masks are usually made of ceramic, in blank face, which the performer then
covers with the elaborate artwork which defines the character and sets the
role. Some masks are made of simple paper and even tissue, while others have
been known to use silk as a base.

The elaborate nature of the face design in Beijing Opera has borrowed
greatly from Chinese Folk Art designs as well as from folklore and
mythological characters. As in the Chinese language itself, the designs are
visually based and are seen from the top to the bottom, gradually bringing the
spectator into the role of the character.

Opera masks are truly excellent examples of the cultural background of the
Chinese people.

In the image at left is a stage for the presentation of Beijing opera,
built in the late 19th Century at the command of the Empress Dowager Cixi
inside the Summer Palace in Beijing.

French architect Paul Andreu has designed a new opera house next to
Tiananmen Square in central Beijing.
The building features a titanium and glass-dome set in the center of a lake
and will contain a 2,500-seat opera hall, a concert hall with 2,000 seats, a
theatre with 1,200 seats and a smaller theatre that will seat 520. Visitors
will enter through a tunnel under the lake, which will be surrounded with
grass and trees.

Located in Xuanwu District , at the center of Beijing, south and near to
Tiananmen Square , Dashilan Street and not far from Hepingmen (Gate of Peace)
and the colorful Liu Lichang market street, the Zheng YiCi Temple Beijing
Opera Theatre is very close to Beijing's city life and home to Beijing Opera.
The theatre, dating from the Year 1668, is housed in an ancient Ming era
temple and is the oldest wooden theatre in China today. The Zheng Yici has the
distinction of being the best place in the city to enjoy Beijing Opera and
Kunqu Opera in it's most authentic shape, form, and most importantly,
atmosphere. Placed beautifully, but somewhat inconspicuously in the Xuanwu
Districts " Hutong ", the Zheng YiCi Theatre is home to some of the best
Beijing Opera actors and opens its doors to Beijing Opera lovers, locals and
tourists to share an interesting and unique opera experience.